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pg 87 The Workes of Benjamin Jonson, The Second Volume, title page 1640 pg 88 VTHE FOLIO OF 1640

In certain features of the printing the Second Folio shows a departure from the methods of its predecessor. It economizes space by printing fifty lines to a page where the earlier folio had fortyseven.1 In the 1616 Folio the date of performance, the company, and a list of the chief actors followed the plays in a final page; the 1640 Folio prints this historical note on the back of the title-page after the mention of the scene, omitting the reference to the company because that was already on the title-page. The result was that the 1,016 pages of text in the First Folio were reduced to 896 in the Second.

In this volume proper names of characters are printed in lowercase italic instead of the roman capitals of the First Folio.

As might be expected, the Second Folio modernized to some extent. In lower-case 'j' and 'u' are the rule; this was becoming the practice towards the middle of the seventeenth century. But by a curious inconsistency 'I' and 'V' are often retained as capitals, especially in titles. Thus 'AS IT WAS PRESENTED AT COVRT BEFORE King Iames' in the heading to News from the New World Discovered in the Moon. 'Ionson', 'Iohnson', 'Jonson', and 'Johnson' are all found. In Hugh Holland's preliminary verses the heading is 'To His worthy friend, Ben. Ionson. Vpon his Sejanus'.

The spelling is modernized, though inconsistent survivals of the older forms are found occasionally. Thus, 'than' for 'then', 'marry' for the oath 'mary', 'lose' for 'loose', 'hither' and 'whither' for 'hether' and 'whether', 'gifts' for 'guifts', 'guests' for 'ghests', 'valour' for 'valure', 'velvets' for 'vellets', 'Paules' for 'Poules', 'sheriffs' for 'shrieffs', 'struck' for 'strooke', 'authenticall' for 'autentican'; a significant example, because it affects the metre, is 'atomes, to undoe' for 'atomi, to 'vndoe' in Sejanus, 1. 257. A minor point is that 'god' in oaths, the common form in the First Folio, which modified the profanity at least to the eye, usually attains to the dignity of a capital letter in the Second Folio.

The First Volume

This is a reprint of the Folio of 1616 in two sections. The collation is A to Kkkk6, Lll4, the plays; A–T6, the Epigrams, Entertainments, pg 89and Masques. In detail: A1 recto blank; A1 verso, Robert Vaughan's portrait inlaid; A2 recto, William Hole's engraved title-page, retouched by altering the i of 'Beniamin' to j and re-engraving the shield with the imprint and date to 'London. Printed by Richard Bishop, and are to be sold by Andrew Crooke in St Paules Church-yard. Ano D. 1640'; A2 verso blank; A3 recto, 'The Catalogue'; A3 verso–A6 verso, poems by John Selden, Edward Heyward, William Hodgson, George Chapman, Hugh Holland, John Donne, George Lucy, Edmund Bolton, Francis Beaumont. Richard Bishop in 1635 bought William Stansby's business from Stansby's widow for £700, and he acquired the copyright of Every Man out of his Humour from John Smethwick on 28 April 1638.

  • Every Man in his Humour. B1, title-page, with the imprint of Richard Bishop facsimiled in vol. iii, p. 299; B1 verso blank; B2 recto, the dedication to Camden; B2 verso, the persons of the play, the scene, and the list of the principal comedians; B3 recto–G1 verso, the text. Pages 1–62.

  • Every Man out of his Humour. G2 recto, title-page, with the imprint of Richard Bishop, facsimiled in vol. iii, p. 420; G2 verso blank; G3 recto, the dedication to the Inns of Court; G3 verso, 'the Names of the Actors' (i.e. characters) and the list of the principal comedians; G4, character-sketches of the persons; G5 recto–O4 recto, the text; O4 verso, the epilogue at the Court performance. Pages 63–152, with page 135 misnumbered 125.

  • Cynthia's Revels. O5 recto, the title-page, with the imprint of Richard Bishop, facsimiled in vol. iv, p. 29; O5 verso blank; O6 recto, the dedication to the Court; O6 verso, the persons of the play, the scene, and the list of the principal comedians; P1 recto–X4 recto, the text; X4 verso blank. Pages 153–235.

  • Poetaster. X5 recto, the title-page, with the imprint of George Young and Richard Bishop's device, facsimiled in vol. iv, p. 199; X5 verso blank; X6 recto, the dedication to Richard Martin; X6 verso, the persons of the play, the scene, and the list of the principal comedians; Y1 recto–Dd5 verso, the text, concluding with the Apologetical Dialogue. Pages 237–310.

  • Sejanus his Fall. Dd6 recto, the title-page, with Richard Bishop's imprint, facsimiled in vol. iv, p. 347; Dd6 verso blank; Ee1 recto, the dedication to Lord Aubigny; Ee1 verso, the argument; Ee2 recto, the persons of the play, the scene, and the list of the principal tragedians; Ee2 verso–Kk6 verso, the text. Pages 311–84.

  • Volpone, or The Fox. Ll1 recto, the title-page, with the imprint of Richard Bishop, facsimiled in vol. v, p. 15; Ll1 verso blank; Ll2 recto–3 recto, the dedication to the Universities of Oxford and pg 90Cambridge; Ll3 verso, the persons of the play, the scene, and the principal comedians; Ll4 recto–Qq6 verso, the text. Pages 385–456.

  • Epicoene, or The Silent Woman. Rr1 recto, the title-page, with the imprint of Richard Bishop, facsimiled in vol. v, p. 159; Rr1 verso blank; Rr2 recto, the dedication to Sir Francis Stuart; Rr2 verso, the persons of the play, the scene, and the list of the principal comedians; Rr3 recto–Yy3 verso, the text. Pages 457–522.

  • The Alchemist. Yy4 recto, the title-page, with the imprint of Richard Bishop, facsimiled in vol. v, p. 287; Yy4 verso blank; Yy5 recto, the dedication to Mary, Lady Wroth; Yy5 verso, the persons of the play, the scene, and the list of the principal comedians; Yy6 recto–Eee2 recto, the text; Eee2 verso blank. Pages 523–91.

  • Catiline. Eee3 recto, the title-page, with the imprint of Richard Bishop, facsimiled in vol. v, p. 425; Eee3 verso blank; Eee4 recto, the dedication to the Earl of Pembroke; Eee4 verso, the persons of the play, the scene, and the list of the principal tragedians; Eee5 recto–Lll4 verso, the text. Pages 593–668.

  • Epigrams. A1 recto, the title-page, with the imprint and device of Richard Bishop; A1 verso blank; A2, the dedication to the Earl of Pembroke; A3 recto–D5 verso, the text. Pages 1–46. A new epigram was added after cxxviii, 'To Edward Filmer, on his Musicall Work dedicated to the Queen. Anno, 1629'.

  • The Forest. D6 recto–F3 recto, the text, with title heading on the first page; F3 verso blank. Pages 47–65.

  • Part of the King's Entertainment in Passing to his Coronation. F4 recto, title-page with Richard Bishop's imprint and device; F4 verso blank; F5 recto–H1 verso, the text. Pages 67–86.

  • A Panegyre on the King's Entrance to Parliament. H2–H3, the text, with title heading on the first page. Pages 87–90.

  • The Entertainment at Althorp. H4 recto, the title-page with Richard Bishop's imprint and device; H4 verso blank; H5 recto–I2 recto, the text, headed 'A Satyre'. Pages 91–9.

  • The Entertainment at Highgate. I2 verso–I5 recto, the text, with title heading on the first page. Pages 100–5.

  • The Entertainment of the Two Kings at Theobalds. I5 verso, I6 recto, the text, with title heading on the first page. Pages 106–7.

  • The Entertainment of the King and Queen at Theobalds. I6 verso–K1 verso, with title heading on the first page. Pages 108–10.

  • Masques at Court. K2 recto, general title-page with Richard Bishop's imprint and device; K2 verso blank. Pages 111–12. The masques which follow have title-headings on the first page.

  • The Masque of Blackness. K3 recto–K6 verso, pages 113–20.

  • The Masque of Beauty. K6 verso–L5 recto, pages 120–9.

  • pg 91Hymenaei. L5 verso–N3 verso, pages 130–50.

  • The Haddington Masque. N4 recto–O2 verso, pages 151–60.

  • The Masque of Queens. O3 recto–P6 recto, pages 161–79.

  • The Speeches at Prince Henry's Barriers. P6 verso–Q4 verso, pages 180–8.

  • Oberon the Fairy Prince. Q5 recto–R3 recto, pages 189–97.

  • Love Freed from Ignorance and Folly. R3 verso–R6 recto, pages 198–203.

  • Love Restored. R6 recto–S2 verso, pages 203–8.

  • A Challenge at Tilt. S2 verso–S4 verso, pages 208–12.

  • The Irish Masque at Court. S5 recto–S6 verso, pages 213–16.

  • Mercury Vindicated from the Alchemists at Court. T1 recto–T3 verso, pages 217–22.

  • The Golden Age Restored. T3 verso–T6 verso, pages 222–8.

The first scholarly examination of Jonson's text was made by Dr. Brinsley Nicholson in an article contributed in 1870 to Notes and Queries, 4th Series, vol. v, pp. 573–5, 'Ben Jonson's Folios and the Bibliographers'. He collated and criticized the text of both folios. He stated that, except for dropped words and trifling errors, 'as a rule, both words and punctuation' of the earlier folio 'have been very carefully followed' in the reprint of 1640. 'Words, stops, and the apostrophes that indicate the scansion are occasionally corrected in a manner not to be accounted for by the care and pains of any ordinary or mechanical press reader, especially if the uncorrected errors … be also taken into account.' Then he instanced the notes to some of the masques, 'in which a press error hardly ever occurs, and where the errors of the original in references and in Latin and Greek are invariably corrected'. Unfortunately this high praise of Bishop's printing is unjustified. Certainly he corrected a number of errors, and he tried, not very successfully, to correct the Greek and Latin of the masques; he also tried to improve the punctuation, chiefly by means of a larger use of the semicolon. But Nicholson's conclusion that some of the corrections 'must have been made' and others 'probably were made by the author' can hardly be accepted. It would have been characteristic of Jonson to have left a copy of the 1616 Folio marked with his corrections, but there is not a scrap of evidence that he ever did so.

We have from time to time criticized the text of the Second Folio in the introductions to the several plays.1 The misprints are mostly pg 92commonplace printers' blunders, such as 'snowie' for 'sinowie' (E.M.O. ii. vi. 157), 'wrapt' for 'warpt' (C.R. iv. i. 28), 'searching' for 'searcing' (ib. v. iv. 325), 'difference' for 'diffidence' (S.W. iv. i. 68), 'dispositions' for 'depositions' (Volp. ii. ii. 139), 'porter' for 'potter' (Cat. iii. 542), 'intimate' for 'inanimate' (K. Ent. 119), 'Ladder' for 'Larder' (Merc. Vin. 72). More important are the occasional corrections or attempts at a correction: for instance, 'some', though this is obvious because of the rhyme, for 'fame' (E.M.I, v. v. 81), 'Yea, fright all aches' for 'Yet fright all aches' (Volp. ii. ii. 202), 'I could desire, grave Fathers' for 'I could desire, Fathers' (Cat. iv. 209), because the corrector thought that 'desire' must be a dissyllable; 'anima' correcting 'animas', a misprint for 'animus' in The Masque of Queens, 611; 'straight' similarly correcting 'starre', a misprint for 'the starre' in Oberon, 445; 'no' affection', which is a Jonsonian punctuation, for 'no affection' in Epigram xxiii. 6; 'lock'd' for 'look'd' (ibid. xcii. 17). The worst of the Latin and Greek blunders corrected are—ἀντίθεον ΠολυΦῆμον‎ for ἀντι.θεὸν ΠολυΦημον‎ (K. Ent. 341, note 'e'); 'pulcherrimÆ' and 'fvnestissimam' for 'pvlcherimÆ' and 'fvnessimam' (ibid. 656, 662); ταυρόκρανος‎ and ἀγκάλαις‎ for ταυρὁκρανος‎ and ἀγκὰλαις‎ (M. Blackness, 46, note 'h'); σύμβολον‎ and γενέσθαι‎ for σὺμβολον‎ and γενὲσθαι‎ (Hym. 288 note 'a'); θάλέιν‎ for θἀλέιν‎ (ibid. 436, note *); 'silices' for 'silicet' (M. Queens, 265, note 'g'); 'hircinis' and λευκὸς‎ for 'hircints' and λουκός‎ (Oberon, 66, note 'a'); 'gestari' for 'gestaui' (ibid. 130, note *). Blunders almost as bad are left uncorrected, and there is some slight excuse in the fact that they occur in marginal notes printed in small type. We ourselves have sometimes missed them in a first proof and have only been saved by the revise.

A few large-paper copies of the first volume of the 1640 Folio have survived, but they are rare. Swinburne had one, which was sold at Messrs. Sotheby's in June 1916. They have a few corrections. Two copies have been collated-Selden's copy in the Bodleian (G.2.5. Art. Seid.) and a copy belonging to the editors. The following corrections of the text and accidental deviations from it such as dropped letters have been noted.

Every Man in his Humour

P. 9.

i. ii. 91

wind-mill]

wind-m    V THE FOLIO OF 1640 (the letters broken)

P. 17.

Act II. Scene II.]

Act II. Scene I.

P. 20.

ii. ii. 21, 25, 30

and]

an

25

lucke]

luck

34

he brewes]

hee brews

pg 93

P. 44.

iv. iii. 14

de-vill!]

de-!|vill!

15

trash!]

trash1

P. 52.

iv. viii. 145

counsell.]

counsell

P. 57.

iv. xi. 50

I'le-keep it]

I'le keep it

Every Man out of his Humour

P. 66.

The Names of the Actors, 5

Puntervolo]

Puntarvolo

P. 67.

Characters. 5

iether]

either

14

Puntervolo]

Puntarvolo

P. 75.

Induction, 334

Elixi'r]

Elixer

P. 84.

i. iii. 181

envie]2

envie

P. 149.

v. x. 2

sower]

sowre

Cynthia's Revels

P. 177.

ii. iii. 153

against;]

against,

Poetaster

P. 237.

Title-page, 5

1601 By. the]

1601. By the

P. 240.

The Persons, 5

gallus]

Readjusted

cor

P. 251.

ii. i. 35

mightely]

mightily

P. 289.

iv. ix. 95–6

stay | In]

st | In

v. i. 1–2

conquer'd, | And]

conqu | And

2–3

felt; | Griev'd]

felt | Griev'd

Sejanus

P. 349.

iii. 515

Augustus | In

Augu | In

Volpone

P. 387.

Dedication, 12

of it | heare]

of | heare

13

It is | certaine]

It | certayne

14

licence of | Poëtasters]

licence | Poëtasters

P. 391.

Heading

VOLPONE,]

VOLPONF3

P. 392.

i. i. 15

the best;]

the best

P. 402.

i. v. 17

Beshrew't]

Best shew't

Pp. 402–3.

i. v. 26

Vo    V THE FOLIO OF 1640tore]

Voltore

84

Vo    V THE FOLIO OF 1640lp.]

Volp.

89

Vo    V THE FOLIO OF 1640pone]

Volpone

P. 403.

68

aith]

Faith

69

Fs well]

As well

70

A Corv.]

Corv.4

71

is]

It is

92

moneth]

month

pg 94 The Alchemist

P. 566.

iv. i. 35

suffer that,]

suffer that;

49

guilt]

gilt

P. 574.

iv. iv. 46

Foot-men]

Fo ot-men

48

Bet'lem]

B et'lem

P. 575.

iv. v. 17

Sh's]

Sh'is

25–32

And so … interprete Rome.]

And so … interprete Rome.1

27

Philosophers]

Philosophers stone

29

Brimstoni]

Brimstony

P. 576.

iv. v. 36

O]

O,

Catiline

P. 613.

ii. 219

sulennesse]

sullennesse

P. 647.

iv. 550

fortunes,]2

fortunes

P. 658.

v. 180, 188

there? … books, misplaced above the line

Adjusted

Epigrams

P. 4.

Dedication

Ben. Jonson]

. . n. Jonson

Part of the King's Coronation Entertainment

P. 69.

17

Ceolo]

Coelo

Hymenaei

P. 131

52 note 'a'

For, which]

For which,

note 'e'

quasi. Minister]

quasi Minister

The Second Volume

The second volume opens with the three plays printed by John Beale for Robert Allot in 1631—Bartholomew Fair, The Devil is an Ass, and The Staple of News. Though this is the order of composition, performance, and printing, The Devil is an Ass is placed third in the group and is so numbered on the title-page which Richard Meighen prefixed to copies of these plays when they were published in the Folio of 1640. Only one of these plays was entered on the Stationers' Register, The Staple of News, on 14 April 1626, shortly after its performance. Such evidence as there is suggests that these plays were not published by Allot in 1631. Jonson's complaint to the Earl of Newcastle that he could not extract from the printer a copy of The Staple of News to send as he had sent the two other plays3 shows that they were not on sale at Allot's shop, the sign of pg 95the bear, in Paul's churchyard. John Hansley's licensing note on 6 June 1640, 'Let this be entered … but not printed …',1 shows that he knew nothing of the printing nine years earlier.

After Allot's death his widow Mary on 1 July 1637, 'by order of a full Court holden the Seauenth day of Nouember last', i.e. in 1636, transferred her husband's rights in sixty-one books, including Bartholomew Fair and The Staple of News, to John Legatt and Andrew Crooke.2 Crooke had been Allot's servant and had received from him a legacy of twenty pounds on condition that he remained three years in Mary Allot's service. The omission of The Devil is an Ass in this large transfer of stock can only be explained as an oversight. Crooke attempted ŧto remedy it in 1640 when the Folio, which would contain these plays, was under way. This is the licenser's note found in manuscript in a copy of the Folio with the 1631 text of The Devil is an Ass: 'June 6 1640. Let this be entered for Andrew Crooke but not printed till I give further directions. John Hansley.'3 All the evidence suggests that Crooke was fully entitled to the copyright, but the licenser's caution was justified by the legal difficulties which beset the publication of the 1640 Folio.

Over the first three plays, however, there was finally no trouble. Richard Meighen issued them with a title-page dated 1640, which described them as 'The Second Volume' of Jonson's 'Workes'. Once again there was no legal transfer, but Meighen probably came to terms with Crooke and bought up the sheets.

The greater portion of this 1640 volume—that is to say, the masques, the latest plays, The Underwood, the translation of the Ars Poetica, and the prose-works—was issued by Thomas Walkley, probably in the early months of 1641.4 He neglected to enter it in time on the Stationers' Register, and he had reason to regret that he had not secured his rights. His own account was that Jonson before his death presented Sir Kenelm Digby with 'seuerall' of his 'writings and workes' in 'true & perfect' manuscript copies, giving him full authority to dispose of them. Walkley bought the manuscripts from Sir Kenelm for forty pounds and spent two hundred pounds on printing them. 'Before they were fully perfected', John Benson and Andrew Crooke secured 'false & imperfect Copies of the said workes' and entered them at Stationers' Hall. Walkley complained to one pg 96of the Secretaries of State, who issued an injunction against Benson and Crooke. Matters took a new turn. Benson and Crooke evaded the injunction. John Parker, a stationer of London, with Benson and Crooke's connivance, successfully entered an action at the Guildhall and attached all Walkley's edition that had so far been printed on the pretext that the stock belonged to Benson and Benson owed him money. On 20 January 1640 Walkley filed a bill in Chancery, stating his case and adding that Benson and Crooke, relying of course on their entries in the Register, announced that they would go forward with their own edition. They carried out their threat, at least in part, but Walkley presumably won his case, for there is no counter-plea by any of the defendants, and Walkley succeeded in getting the book out in 1641. It was probably late in 1640 before the case was heard in the Court of Chancery and later still before Walkley's stock was restored to him. His statement that it was attached before the work was 'fully perfected' is borne out by the fact that two imprints in the volume, those of The Sad Shepherd and of Timber, or Discoveries, are dated 1641. In both these works there are clear signs of hasty printing, especially in the Discoveries where there are serious omissions, for instance, in the passage borrowed from Hoskyns (ll. 2128–289). All the other imprints have the date 1640, when he had originally planned to publish the whole work. He had not completed it when his stock was seized. In 1648 he was still appealing to the House of Lords for a licence, but he stated that he had printed the book 'by authority'. This could only have been the authority of the Court of Chancery. For an entry on the Stationers' Register he had to wait till 1658 when he entered the contents of 'the third volume' and added at the end of the list the hitherto-unregistered The Devil is an Ass. His rights at last secured, he transferred them to Humphrey Moseley.

Such in brief is the story of the painful steps by which the second volume of the 1640 Folio found its way into the market. It remains to authenticate it. First, as to Benson and Crooke and what they succeeded in publishing. They paved their way adroitly by a series of entries on the Register.

         4o. Nouembris 1639 …

John Benson.

Entred for his Copie vnder the hands of Doctor Bray and Master ffetherston warden An Addicion of some excellent Poems to Shakespeares Poems by other gentlemen. vizt. His mistris drawne. and her mind by Beniamin: Johnson. An Epistle to Beniamin Johnson by ffrancis Beaumont. | His Mistris shade. by R. Herrick. &c.               vjd.

                         (Arber, Transcript, iv. 487.)

pg 97The Jonson poems are the third and fourth of the 'Eupheme' series in honour of Lady Digby, printed at the end of The Underwood.

         16o. die Decembris 1639 …

John Benson.

Entred for his Copie vnder the hands of Master Clay and Master Bourne warden a booke called Ben Johnsons Execration against Vulcan with other his smaller Epigrams               vjd.

                                        Ibid. 493.

         8o. ffebruarij 1639. [i.e. 1640.]

John Benson.

Entred for his Copie vnder the hands of Master Clay and Master Bourne warden a booke called Quintus Horatius fflaccus his booke of the Art of Poetry to the Piso's. translated into English by Beniamin: Johnson               vjd.

                                        Ibid. 498.

         20o. ffebruarij. 1639. [i.e. 1640.]

John Benson.

Entred for his Copie vnder the hands of doctor wykes and Master Bourne warden a booke called The Masque of the Gypsies by Beniamin: Johnson               vjd.

                                        Ibid. 500.

So far the nefarious Benson, and he followed up the entries with publication. He published in quarto Ben Ionson's Execration against Vulcan. With divers Epigrams … Never published before in 1640; Matthew Clay's imprimatur is dated 14 December 1639. He followed this up with a duodecimo in 1640—Q. Horatius Flaccus: His Art of Poetry … With other Workes of the Author, never Printed before— viz. The Masque of Gypsies; Clay's imprimatur is dated 21 February 1640. Walkley in his bill of 20 January mentions that Benson and Crooke were threatening publication, and it followed in due course with Benson.

What of Crooke? He too made an entry of Jonson manuscripts on the Register, with Richard Serger for his accomplice:

  20o. Martij 1639 [i.e. 1640.] …

Master Crooke and Richard: Seirger

Entred for their Copie vnder the hands of doctor wykes and master ffetherston warden four Masques vizt                                           vjd.

    The Masque of Augures

    Tyme vindicated

    Neptunes triumphes. and

    Panns Anniuersary or the sheapards holy day. with sundry Elegies and other Poems by Beniamin: Johnson

                             Ibid. 503.

pg 98The four masques specified in this entry are the next in order in the Folio to The Masque of Gypsies, which Benson had just printed. It looks as if Crooke and his partner made that masque a starting-point for further raids on Jonson's work, and here not improbably on Walkley's text, though Benson's copies of the Ars Poetica and The Masque of Gypsies were from a different manuscript than that which Walkley printed. That is why Walkley calls their copies 'false and imperfect'. Crooke and Serger did not print these four masques; evidently this was the 'further printing' after the two issues of the Poems in 1640 which Walkley stopped.

Here is the full text of Walkley's bill in the Public Record Office, Chancery Proceedings before 1714, Mitford, 90–38:1

xx. Januarij. 1640.
Pindar2

To the right honoble Sr Edward Littleton Kt Lord keeper of the greate seale of England

Humbly complayning sheweth vnto yr good lopp. yor Daylie Orator Thomas Walkeley Cittizen & stationer of London.

That whereas seuerall of the writings and workes of Beniamin Johnson late deceased and not before printed were some shorte tyme before his decease presented vnto & giuen by the said Beniamin to Sr Kenelme Digby to dispose thereof at his will and pleasure.

To whose care & trust the said Beniamin left the publishing and printing of them and delivered him true & perfect Copies for his better & more effectual dooing thereof,

And the said Beniamin shortly after dyeing, the said Sr Kenelme Digbye in pursuance of the said truste reposed in him deliuered the same Copies to yor Orator to haue them published and printed according to the intencon of the said Beniamin Johnson freely bestowing the benefitt of the printing thereof on yor Orator,

Wherevpon yor Orator having procured licence for the printing thereof and having to his great charge caused them to be printed before such tyme as yor Orator had the same from the printing house or that they were fully perfected, one John Benson & Andrew Crooke having notice that yor Orator was in hand wth the printing of the same bookes and that there was like to bee some profitt made thereby

They the said Benson & Crooke having obtayned by some casuall or other indirect meanes false & imperfect Copies of the same works did make an Entry in the Hall of the Company of Stationers of London in their owne name for the printing & publishing of the same workes, the Company not knowing of yor Oratores interest therein or of yor Oratores printing thereof,

wch vndue and irregular proceeding of them the said Benson & Crooke coming accidentally to the knowledge of your Orator yor Orator did pg 99thervpon make complaynt thereof to one of his Mates Secretaries of State who having heard & vnderstood the trueth of the proceeding did graunt a warrant, thereby prohibiting the sayd Benson & Crooke from further printing or publishing the same workes or any of them.

But nowe soe it is may it please yor good lop    V THE FOLIO OF 1640. that one John Parker a stationer also of London finding the said Benson to be greatly indebted to him and finding the name of the said Benson to be entred in the hall of the stationers for the printing & publishing of the said workes and knowing that diverse of the said bookes wch yor Orator had at his owne proper charge caused to be printed were accordingly printed and ready for to be published, And knowing also where they were, the said Parker did by some private practice or agreemt wth them the said Benson & Crooke cause the said bookes wch yor Orator had soe caused to be printed to be attached in London as the wares of him the said Benson at the suite of him the said Parker for a prtended debt supposed to be owing to him the said Parker by the said Benson and proceeding therevpon in the Guildhall London obteyned a Judgemt thervpon, yor Orator being noe way privy thereto or knowing thereof

Which said wares soe attached and for wch the said Parker had obtayned Judgemt in maner as aforesaid are the proper goodes and wares of yor Orator onely and are of the value of three hundred poundes at the least,

Soe as now yor Orator having been at aboue two hundred poundes charge in & concerning the printing the same bookes, they are detayned from yor Orator by him, by whom the same were printed for yor Oratores vse in respect of the said Attachment & Judgemt, yor Orator being noe way indebted to the said Confederates or any of them, And the said Benson & C〈r〉ooke doe giue out that they will in the meane tyme proceed wth the printing and publishing their Copies whereby yor Orator is like to be greatly dampnifyed contrary to all equity & good Conscience.

In tender Consideracon whereof, and for that yor Orator hath noe way to helpe himselfe against the said Judgemt soe surreptuously obtayned without yor honores privity as aforesaid nor to be releiued in the prmisses but by yor lopps. ayd in this honoble Courte, yor Oratores witnesses who should proue the prmisses living remotely in places vnknowne to yor Orator

May it therefore please yor lop    V THE FOLIO OF 1640, the prmisses considered to graunt to yor Orator his Maties most gracious processe of Subpena to be directed to the said John Benson Andrew Crooke & John Parker Comanding them & every of them at a certayne day and vnder certayne paine therein to be limited personally to be & appeare before yor lop    V THE FOLIO OF 1640. in his Mates high Court of Chancery then & there to answere the prmisses

And further to stand to and abide such order sentence & Judgemt therein as shalbe agreable to equity and good conscience

  • And yor Orator shall daylie pray &c.
  • John Vernon1

pk.

pg 100If Walkley won the case, as seems probable, his troubles were not over. We find him complaining in 1648 that the book was still unlicensed. This would explain why he did not print a title to his portion of the work, corresponding to Richard Meighen's title-page for the three plays of 1631. Two House of Lords MSS., dated 20 December 1648, are a petition of nineteen London stationers— Crooke, Benson, and Walkley among them—and a special petition of Walkley to the House of Lords to appoint additional licensers of books. The stationers complain that though three licensers had been appointed 'to lycence for the presse all bookes of history poetry humanity and philosophie … diuers bookes lye vnprinted that would be beneficiall to ye Common Wealth, and trade is much hindred'. Of the three appointed, Thomas Farnaby was dead—he had died the year before—Sir Nathaniel Brent 'since imployed in greater business—and 'Mr Langly the Scholemaster of Paules' was too busy with his school to do the work. Walkley's petition was as follows:

To the Right honoble the House of Peeres in Parliamt Assembled

The humble peticon of Thomas Walkley Stationr

Humbly sheweth

That about 6 yeares ago yor Petr bought a peece of Poetry of Mr Ben: Johnsons which cost him 40    V THE FOLIO OF 1640, and printed it by Authority wch caused him to disburse 300    V THE FOLIO OF 1640 more, to the greate weakeninge of yor petr in his estate.

That since Sr Nathaniell Brent and Mr Langley the Schoolemaster of Pauls haue bin appoynted and still are authorized by the Authority of Parliamt to lycence all bookes of Poetry and humanity, soe that yor Petrs former Authority is excluded, and become invalid.|

Now in reguard Sr Nathaniell Brent is gon out of ye Towne about Publique affaires which may detaine him long, and Mr Langley prtends busines soe as hee cannot     V THE FOLIO OF 1640vse it

  • Yor Petrs humble suite to yor honor is, that yor Honors would
  • be pleased to desyre Mr Langley or some other whome he shall
  • appoynt to     V THE FOLIO OF 1640vse ye said Coppie, and relycence it Soe that it
  • may be entred in ye Common Hall accordinge to Custome That
  • yor Petr may not loose his right.|

And yor Petr shall pray &c

Tho. Walkley.

Walkley's description of the Jonson manuscripts which he wished to get 'relicenced' as 'a peece of Poetry' is odd, but his statement that he bought them for forty pounds is very interesting. The 'peece' must have been at least the collection of The Underwood and probably also the translation of the Ars Poetica. In the Chancery pg 101suit he estimated that the printing had cost 'above two hundred pounds' and he put the value of the stock at three hundred pounds. In the petition to the Lords he put his total expenses at three hundred pounds for the printing and forty pounds for the purchase of the manuscript. Presumably he would be awarded damages by the Court of Chancery, so that he was not throwing in his legal expenses. At any rate, he was a hundred pounds out in his reckoning.

The registration which Walkley should have made in 1640 was effected in 1658.

      17 September 1658

Thomas Walkley.

Entred for his copie under the hand of Master Pulleyn warden a booke called Ben Johnsons Workes ye 3d volume containing these peeces, vizt, ffifteene masques at court and elsewhere. Horace his art of Poetry Englished. English Grammar. Timber or Discoveries. Underwoods consisting of divers poems. The Magnetick Lady. A Tale of a Tub. The sad shephard or a tale of Robin Hood. The Devill is an asse. Salvo jure cuiuscunque                     vjd

  (Eyre and Rivington, Transcript, vol. ii, p. 196.)

On 20 November Walkley transferred his rights to Humphrey Moseley.1 The inclusion of The Devil is an Ass in 'the third volume', to which it did not belong, is all the more curious because its two companion plays of 1631, Bartholomew Fair and The Staple of News, are ignored. This is the first registration of the play; it had not been transferred to Crooke in 1637, nor by Crooke to Meighen in 1640. Meighen's title-page to the three plays is the only evidence of his claim, but at any rate it was not disputed.

So ends the record of muddle, evasion, and dishonesty which characterizes the history of this volume and is suitably reflected in the amorphous arrangement of its contents. Printing and paper are poor, the type on one page of a leaf showing through on the next, and not only in workmanship but in accuracy the 1640 Folio as a whole compares unfavourably with Stansby's Folio of 1616.

But the most interesting revelation afforded us by these legal documents is not a point of law or copyright, but Walkley's statement that he acquired the manuscripts from Sir Kenelm Digby, whom Jonson had made his literary executor. It is supremely important to know on trustworthy evidence that this new text was set up from the poet's autograph. Realizing that he was not likely to bring out his later works himself, he trusted Digby with his pg 102papers. In a poem addressed to Lady Digby, whom he called his Muse, he had drawn an intimate picture of his relations with Sir Kenelm:

  • Goe, Muse, in, and salute him. Say he be
  •   Busie, or frowne at first; when he sees thee,
  • He will cleare up his forehead. …
  • For he doth love my Verses, and will looke
  •   Upon them, (next to Spenser's noble booke.)
  • And praise them too. O! what a fame 't will be?
  •   What reputation to my lines, and me,
  • When hee shall read them at the Treasurer's bord,
  •   The knowing Weston, and that learned Lord
  • Allowes them? Then, what copies shall be had,
  •   What transcripts begg'd? how cry'd up, and how glad,
  • Wilt thou be, Muse, when this shall them befall?
  •   Being sent to one, they will be read of all.1

Jonson died in 1637, and within six months Bryan Duppa, then Dean of Christ Church, published the collection of contemporary tributes to him entitled Jonsonus Virbius. Digby, hearing that this work was in hand, wrote to Duppa a letter of warm appreciation, urging him to publish, saying that he too intended a similar act of devotion: 'I will,' he said, 'as soone as I can do the like to the world, by making it share with me in those excellent pieces (alas that many of thē are but pieces!) wch he hath left behind him and that I keepe religiously by me to yt end.'2 When Humphrey Moseley published in 1659 The Last Remains of Sr John Suckling. Being a Full Collection Of all his Poems and Letters which have been so long expected and never till now Published, he said in a prefatory address to the reader in apology for printing the unfinished tragedy of The Sad One:

Nor are we without a sufficient President in Works of this nature, and relating to an Author who confessedly is reputed the Glory of the English Stage (whereby you'll know I mean Ben: Johnson) and in a Play also of somewhat a resembling name, The SAD SHEPHERD, extant in his Third Volume; which though it wants two entire Acts, was nevertheless judg'd a Piece of too much worth to be laid aside, by the Learned and Honorable Sir Kenelme Digby, who published that Volume. We have also in Print (written by the same hand) the very Beginning only (for it amounts not to one full Scene) of a Tragedy call'd MORTIMER. So that we find the same fate to haue hapned in the Works of two of the most celebrated and happy Wits of this Nation.

pg 103And he aptly quoted Donne,

  •                 A hand or eye
  • By Hilliard drawn, is worth a History
  • By a worse Painter made.

Moseley composed this preface a year after he had bought the Jonson copyrights from Walkley; Walkley was his authority for the reference to Digby.

An interesting association of Digby with the 1640 Folio came to light in 1925 when Mr. P. J. Dobell offered for sale a copy of the second volume with the Meighen title-page and the 1641 text of The Devil is an Ass, inscribed by Digby 'for the Queene of Bohemia'. The copy came from the Craven collection at Combe Abbey, Coventry; Elizabeth of Bohemia was believed, after the death of the Elector Palatine, to have been secretly married to William, first Earl of Craven, and she bequeathed her books to him. The copy was bound in contemporary blue morocco with gold tooling.

The light thrown on the history of the volume and the circumstances of its publication is helpful when we come to consider the text. The plays of 1631—'the second Volume', as Meighen calls it on his title-page—make the first section. Next comes a section containing the Masques, The Underwood, the Welbeck and Bolsover Entertainments, and Mortimer his Fall. A third section includes the translation of The Ars Poetica, The English Grammar, and Timber, or Discoveries. The last section includes The Magnetic Lady, A Tale of a Tub, and The Sad Shepherd. The date on the title-pages of the last three sections is 1640, with the exception of Timber and The Sad Shepherd, which have the imprint 'London, Printed M.DC.XLI'. Probably the second section was printed off, but the third and fourth, which were being set up simultaneously, were unfinished when John Parker swooped down on the printing-office and impounded the stock.

What printer did Walkley employ? Mr. Charles Sayle tentatively suggested John Haviland,1 because the factotum initial of Christmas his Masque, with Salome receiving the head of John the Baptist,2 was used by him in printing the fifth edition of Andrew Willet's Synopsis Papismi in 1637. No other initial border or decorated letter is found in Walkley's portion of the Folio, and this slender link has not been strengthened by any other evidence.

A likelier printer has been suggested by Professor W. A. Jackson. pg 104Bernard Alsop printed in 1640 the general title-page to the 1631 plays; it has his device, no. 339 in McKerrow. Alsop was in partnership with Thomas Fawcett (or Forsett) in 1625 and later. These partners were probably the printers employed by Walkley. The second part opens on signature B without a general title-page. We should expect 'Printed by Bernard Alsop and Thomas Fawcett for Thomas Walkley'. Walkley's troubles probably account for the omission. After his dealings with Sir Kenelm Digby, he might in happier circumstances have procured some commendatory verses from him and his friends.

The collation of the four sections is as follows:

  1. (i) The Beale and Allot plays of 1631

    Bartholomew Fair. Six leaves of A, the first originally blank; A2, the title-page; A3–6, unpaged, the prologue, the persons of the play, the induction. B to M in fours, pages 1 to 88, the text of the play; pages 12, 13, and 31 are misnumbered '6', '3', and '13' respectively.

    In 1640 Richard Meighen printed a general title to the three first plays on the blank leaf A1, which is conjugate with A6; Dr. Greg possesses a copy with the original A1 in its blank state. As he notes, 'for a sheet to be passed through the printing-press again, after it had once been perfected, must have been an unusual occurrence'.1

    The Devil is an Ass. The collation is continuous with that of Bartholomew Fair: N1, page 91, the title-page; N2, pages 93, 94, the persons of the play and the prologue; N3 and 4, O to Y in fours, pages 95 to 170, the text of the play. Two numbers, 89 and 90, have been dropped in the pagination at the beginning; page 99 is misnumbered '97', and page 137 misnumbered '129'.

    [At this point it is necessary to make an interpolation. When the sheets of the 1631 edition ran out in 1641, Thomas Harper reprinted it. The collation is A1, the title-page, and A2 the persons of the play and the prologue, both unpaged; B to I in fours and one leaf of K, pages 1 to 66, the text of the play; K2 blank, preserved in a copy belonging to the editor. Page 35 is mispaged '39'.]

    The Staple of News. Both signatures and paging are erratic. The double lettering Aa is kept as far as Cc2; then it changes over to the single letter C3, and this is kept to the end of the play, except that F2 was misprinted F3 with the genuine F3 following it, but the printer corrected it. Thus we get Aa recto, page 1, the title-page; Aa verso, pg 105page 2, the persons of the play; Aa2, pages 3–4, the induction; Aa3 recto, page 5, the prologue for the stage and Aa3 verso, page 6, the prologue for the Court; Aa4 to H4, and six leaves of I, pages 7 to 76, the text of the play, ending with the epilogue on I6 verso. There are three mispagings, '9' for 19, '16' for 22, and '36' for 63.

(ii) The Masques, The Underwood, the later Entertainments, and the fragment of Mortimer

This section opens abruptly with Christmas his Masque; Walkley did not prefix a title-page, though this is supplied to two of the masques, the Masque at Lord Hay's in honour of the Baron De Tour on page 9, with '1617' at the foot as if that were the date of printing, and The Masque of Gypsies on page 47, with the date of performance at the end of the title 'Avgvst, 1621'.

The collation of the Masques is B–Q4, R2, S–X4, Y2, pages 1 to 160, with pages 8 and 160 blank and page 93 misnumbered '87', but corrected in the Bodleian copy and in one copy belonging to the editor. The Masques are Christmas, his Masque (page 1), A Masque presented in the house of the Right Honorable the Lord Haye (page 9), The Vision of Delight (page 16), Pleasure Reconciled to Vertue (page 22), For the Honour of Wales (page 30), Newes from the New World discover'd in the Moone (page 39), A Masque of the Metamorphos'd Gypsies (page 47), The Masque of Augures with the sever all Antimasques (page 81), Time Vindicated to Himselfe, and to his Honors (page 92), Neptunes Triumph for the Returne of Albion (page 105), Pans Anniversarie; or, The Shepherds Holy-day (page 118), The Masque of Owles at Kenilworth (page 125), The Fortunate Isles, and their Vnion (page 129), Loves Triumph through Callipolis (page 144), Chloridia. Rites to Chloris and her Nymphs (page 151).

Under-Woods, Z–Mm4, Nn1–4 recto, pages 161–271, with the title-page on Z1 recto, an editorial note 'To the Reader' on Z1 verso, and the text of the poems beginning on Z2 recto; signature Bb2 is misprinted 'B2'. The running title is Vnderwoods or Vnder-woods on pages 163 to 200, The Vnder-wood on page 201, Vnder-woods on pages 202 to 207, The Vnder-wood on pages 208–71; in some copies a correction on pp. 164–5. This title by a blunder of the printer is carried on to the two entertainments which follow.

The Kings Entertainment at Welbeck in Nottinghamshire, Nn4 verso, Oo4, pages 272–80.

Loves Welcome. The King and Queenes Entertainment at Bolsover, Pp2, Qq1, pages 281 to 286, the last page blank and page 285 mis-numbered '283'.

pg 106Mortimer his Fall, three unsignatured leaves Qq2–4, pages 287 to 292, the title on Qq2 recto with the verso blank, 'The Persons Names' on Qq3 recto, 'Arguments' on Qq3 verso, and the fragment of the opening scene of Act 1 on Qq4.

(iii) The translation of the Ars Poetica, The English Grammar, and Timber

Horace his Art of Poetrie. Made English by Ben. Iohnson; Printed M.DC.XL, A–C4, D1–3, pages 1–30, the last page blank. The title is on page 1, and the translation faces the Latin text.

The English Grammar. Made by Ben. Iohnson. The title on D4 recto; four Latin aphorisms on grammar at the foot of D4 verso; the preface on E1 recto; the text illustrated with Latin notes, E1 verso, F–K4, L2, pages 34–84.

Timber: or, Discoveries; Made vpon Men and Matter: as they have flow'd out of his daily Readings; or had their refluxe to his peculiar Notion of the Times. 'Printed m.dc.xli.' The title on M1 recto; a Latin note 'Sylva' on M1 verso; the text headed Explorata: or, Discoveries, M2–4, N–R4; pages 85–132. The running title is 'Discoveries'.

(iv) The Magnetic Lady, A Tale of a Tub. The Sad Shepherd

The Magnetick Lady: or, Humors Reconcil'd. The title on A1 recto; A1 verso blank; A2 recto, the Scene; A2 verso, blank; A3–4, the Induction; B–H4, the text of the play: pages 1–64.

A Tale of a Tub. The title on I1 recto; I1 verso, blank; I2 recto, 'The Persons that act'; I2 verso, the prologue; I3–4, K–P4, Q2, the text of the play: pages 65–114, the last page blank. Pages 70 to 79 are duplicated, so that the pagination should have been 65–124.

The Sad Shepherd: or, A Tale of Robin-Hood. 'Printed m.dc.xli.' The title is on R1 recto; R1 verso, blank; R2 recto, 'The Persons of the Play'; R2 verso, 'The Argument of the first Act'; R3, the prologue. R4, S–V4, the text of the play: pages 115–56, the last page blank. Pages 123–32 are omitted in the pagination, pages 151 and 154 are misnumbered '143' and '146'.

To sum up: Jonson's handwriting, even to the last, was legible, as is proved by the autograph letter which 'Your infirme Ben. now' sent from his sick-bed to Thomas Cotton asking for the loan of a scholarly book.1 The printer had no excuse for misreadings of the text. His press-work was abominable; he made no attempt to arrange his copy and present it in a logical sequence of plays, masques, pg 107poems, and prose-works. He may have got the manuscripts in odd parcels; if so, he set them up just as they came in. Jonson was mercifully spared the sight of the disorganized proofs; that might have provoked an epigram 'To his lewd Printer' or another 'Execration'. The utmost that could be said for Walkley's printer is that, after all, he was a better workman than John Beale.

An occasional defect of the Folio is the dropping out of words. Three such passages have been accounted for by Professor P. Maas; he attributes the omission to physical damage in the copy used by the printer.1

  • (1) In The Masque of Augurs, 314 and 377, the words 'King' and 'Aides' at the beginning of the lines are dropped in the Folio without any sign of omission; we have retrieved them from the Quarto. 'Such omissions are rare', says Professor Maas; 'their recurrence so close together at the same place in the verse-line raises the suspicion that one and the same physical cause had damaged both passages in the copy for the Folio. In the Quarto the two words stand exactly at the same place on the recto of signatures B2 and B3, the corresponding places on the versos being blank. This proves that in this masque the copy for the Folio was a copy of the Quarto in which these two words had been destroyed, perhaps by a spark.'

  • (2) In Pleasure Reconciled to Virtue, 'tune' in the first half of line 292 and 'ever' in the first half of line 316 are similarly omitted, but here the Folio marks lacunae in the text. The missing words are recovered from the contemporary Chatsworth MS. 'In the copy for the Folio, which for this Masque must have been a MS., they probably stood on corresponding places of recto- and verso-page; ll. 313–16 must then have been deeply indented.'

  • (3) A lacuna is also marked in the text of The Magnetic Lady, iv. ii. 55, 't'ingage him—the busines'; we have inserted 'i'. Earlier in the scene (l. 20) is the defective line 'And had up for honour to her blood'. 'A page of 35 lines', says Professor Maas, 'is not improbable for the MS. from which this play was printed.'

Thirteen copies of this volume have been collated for the text in volumes vi, vii, and viii. Some additional variants have been found and are asterisked in the following lists. We prefix the symbols used to indicate the copies.

M1=

British Museum copy with press-mark C. 39. k. 9.

M2 =

British Museum copy with press-mark C. 28. m. 12., containing the autograph copy of Jonson's verses to Somerset on his wedding.

pg 108

M3 =

British Museum copy with press-mark 79. l. 3.

M4 =

the Museum copy of the three plays of 1631 with press-mark 642. l. 29.

M5 =

'The Third Volume', 1640–1, to which is prefixed the 1641 reprint of The Devil is an Ass, with press-mark fol. 1482. d. 15, given by Dr. Greg.

B1 =

the Douce copy in the Bodleian (Douce I. 303)

B2 =

the Bodleian copy with shelf-mark Don. d. 66.

Seld =

Selden's copy of The Devil is an Ass in the Bodleian.

O =

the Oriel College copy.

A1 =

the copy presented by Dudley Digges to All Souls College, Oxford, lacking Bartholomew Fair and The Staple of News.

A2 =

the All Souls College copy with shelf-mark pp. 4. 18.

S1 =

a copy belonging to the Editor with the title-page to the 1631 plays.

S2 =

another copy with the 1641 text of The Devil is an Ass.

S3 =

another copy, formerly Lord Birkenhead's.

S4 =

another copy, without the induction to Bartholomew Fair, and without The Sad Shepherd, formerly Sir Charles Firth's.

S5 =

a copy of The Devil is an Ass.

The corrections made in these copies while the volume was printing are as follows:

(i) The Plays of 1631

Meighen's Title-page

Found in M1, M2, M3, B2, O, A2, and S1

Bartholomew Fair

C2r, p. 11.

i. v. 93

you head M1, 2, 4, B2, O, S3

your head M3, B1, A2, S1, 2, 4

D1v, p. 18.

ii. ii. 40

Wou'ld S3

Who'ld the rest

46

Heere. M1, B1, O, S3

Heere, M2, 3, 4, B2, A2, S1, 2, 4

56

Egdeworth S3

Edgeworth the rest

59

morning. M1, B1, O, S3

morning, M2, 3, 4, B2, A2, S1, 2, 4

D4r, p. 23.

ii. iv. 37 st. dir.

This … not. not in S3

Inserted in the rest

39

sing M1, B1, O, S3

sing, M2, 3, 4, B2, A2, S1, 2, 4

58

on on M1, B1, O, S3

one on M2, 3, 4, B2, A2, S1, 2, 4

65

here M1, B1, O, S3

here, M2, 3, 4, B2, A2, S1, 2, 4

E3v, p. 30.

ii. vi. 115

bold B1, S2

bold, the rest

pg 109

E4r, p. 31.

ii. vi. 146 st. dir.

Instice M3, O, Manchester College copy

Iustice the rest

150

Parent of the of the M1, 2, 3, 4, O, A2, S1, 2, 3, 4

Parent of the B1, 2

H4r, p. 55.

iv. ii. 108

am if S3, 4

am, if the rest

L2r, p. 75, and L3v, p. 78, are reset (V. iii. 92–137, 'green gamesters … fitted'; v. iv. 90–138, 'Come, come … you need.'). The original setting is in M2, 3, 4, O, A2, S1, 3, 4.

Originally

Reset

L2r, p. 75.

v. iii. 102

Sir.

Sir,

103–4

—And heere

——And here

113

hight

height

114

do

doe

118

Mr. Littlewit?

Mr Littlewit.

124

go-|ing

go|ing

125

Trigsstayers

Trigsstayres

127

hee

he

130

iudgement

Iudgement

132

I'll be

Ile be

136

drum

Drum

Signature after

137

L 2

L2

Catchword

ACT.

Act.

L3v, p. 78.

v. iv. 90

ready

readie

93

bare headed

bare-headed

96

Stocks

stocks

100

in himselfe

himselfe

101

Numps

Numpes

108

pray you … me

pray … mee

109

Well then,

Well, then

111

neither, now … mee

neirher, now, … me

112

Win-w. … care, he

Win-vv. … care hee

113

to expresse

expresse

117

chief

chiefe

118

cloth,

cloth

120

Which … call it

VVhich … call

122

he

hee

123

to come

to'come

128

Pvp.L. Cole (So 130, 132, 135, 137)

Pvp. L.Cole

129

That is … controle.

That's … controle:

131

We

Wee

133

cole … do

Cole … doe

135

your … here,

you … here

136

maners … here,

manners … here

137

say,

say

After 138

c.w. Pvp.

omitted

The Devil is an Ass (1631)

N3r, p. 95.

i. i. 20

for't. M2, 3, O, A2, S1, 3

for't, M1, B2, Seld, S4, 5

P2r, p. 109.

i. vi. 185

Kings M1, 2, B2, Seld, A2, S1, 3

Kings M3, O, S4, 5

pg 110

P2r, p. 109.

i. vi. 186

Stage-garment M1, 2, B2, Seld, A2, S1, 3

Stage-garment M3, O, S4, 5

187

norhings else. M1, 2, B2, Seld, A2, S1, 3

norhing else: M3, O, S4, 51

193 st. dir.

Hee … againe not in M1, 2, B2, Seld, A2, S1, 3

Inserted in M3, O, S4, 5

213

you M1, 2, B2, Seld, A2, S1, 3

you, M3, O, S4, 5

215

ayre in: yes M1, 2, B2, Seld, A2, S1, 3

ayre in. Yes M3, O, S4, 5

224

mine owne M1, 2, B2, Seld, A2, S1, 3

mine M3, O, S4, 5

P3v, p. 112.

ii. i. 20 st. dir.

To a third. not in M1, 2, B2, Seld, A2, S1, 3

Inserted in M3, O, S4, 5

22

dispatch it: M1, 2, B2, Seld, A2, S1, 3

dispatch it. M3, O, S4, 5

22 st. dir.

He … Fitz-dottrel. not in M1, 2, B2, Seld, A2, S1, 3

Inserted in M3, O, S4, 5

26

Proiect … Duke M1, 2, B2, Seld, A2, S1, 3

proiect … Duke M3, O, S4, 5

33 st. dir.

He … Ingine. not in M1, 2, B2, Seld, A2, S1, 3

Inserted in M3, O, S4, 5

42

Commoners, and Aldermen M1, 2, B2, Seld, A2, S1, 3

Commoners, and Aldermen M3, O, S4, 5

45

Land M1, 2, B2, Seld, A2, S1, 3

land M3, O, S4, 5

46

Crown's … a moiety M1, 2, B2, Seld, A2, S1, 3

Crowne's … his moiety M3, O, S4, 5

47

Crowne M1, 2, B2, Seld, A2, S1, 3

Crowne M3, O, S4, 5

50

Throughout M1, 2, B2, Seld, A2, S1, 3

Thorowout M3, O, S4, 5

51

millions M1, 2, B2, Seld, A2, S1, 3

millions M3, O, S4, 5

53

acre, M1, 2, B2, Seld, A2, S1, 3

acre. M3, O, S4, 5

58

Gallant M1, 2, Be, Seld, A2, S1, 3

gallant M3, O, S4, 5

65

Proiect; foure dogs skins M1, 2, B2, Seld, A2, S1. 3

Proiect. 4. Dog-skinnes M3, O, S4, 5

S2v, p. 134.

iii. iii. 129

In corrigible M2, 3, O, A2, S1

Incorrigible M1, B2, Seld, S3, 4, 5

V1v, p. 148.

iv. iv. 31

Abezzo. M1, 2, 3, O, A2, S3

Abezzo, B2, Seld, S1, 4, 5

45

Carrnuacins M1, 2, 3, O, A2, S3

Carrauicins B2, Seld, S1, 4, 5

pg 111

V1v, p. 148.

iv. iv. 47

well. M1, 2, 3, O, A2, S3

well B2, Seld, S1, 4, 5

X2v, p. 158.

v. i. 4

With, M2, A2

VVith the rest

9

Wtih M2, A2

VVith the rest

X3v, p. 160.

v. ii. 21 st. dir.

sterts B2

starts M1, 2, 3, Seld, O, S1, 3, 4, 5*

41

tame B2

name M1, 2, 3, Seld, O, S1, 3, 4, 5*

Y1r, p. 163.

v. v. 8

fo rme B2

for me M1, 2, 3, O, Seld, S1, 2, 3, 4, 5*

Y2r, p. 165.

v. vi. 64

heaters M2, 3, A2, S3

Cheaters M1, B2, Seld, O, S1, 4, 5

Y2v, p. 166.

v. vii. 2

esteem e of M2, 3, B2, Seld, O, A2, S1, 3, 5

a steeme of M1, S41 (M1 like a broken e, not a)

Y3v, p. 168.

v. viii. 58

to be the merrier M2, 3, A2, S3

the merrier man M1, B2, Seld, O, S1, 4, 5

59

Sir. M2, 3, A2, S3

Sir! M1, B2, Seld, O, S1, 4, 5

60

insolence M2, 3, A2, S3

impudence M1, B2, Seld, O, S1, 4, 5

67 st. dir.

They whis-|per, M1, 2, 3, Seld, A2, S3, 4

They whi | per O

They w hi|per B2, S1, 5

69 st. dir.

And giue M2, 3, A2, S3

and giue him M1, B2, Seld, O, S1, 4, 5

74

Yellow, yellow, yellow, yellow M2, 3, A2, S3

Yellow, yellow, yellow, yellow M1, B2, Seld, O, S1, 4, 5

76

clapping M2, 3, A2, S3

with clapping M1, B2, Seld, O, S1, 4, 5

81 st. dir.

a Iuglers game M2, 3, A2, S3

to be a Iuglers game M1, B2, Seld, O, S1, 4, 5

86–7

to such a fellow, | I'd rather fall. M2, 3, A2, S3

to such a foole, | He makes himselfe. M1, B2, Seld, O, S1, 4, 5

87

ô they whisper, they whisper, whisper, &c. M2, 3, A2, S3

O they whisper, whisper, whisper. M1, B2, Seld, O, S1, 4, 5

95

meanes, M2, 3, A2, S3

meanes? M1, B2, Seld, O, S1, 4, 5

102

Sir: M2, 3, A2, S3

Sir. M1, B2, Seld, O, S1, 4, 5

Two of the catchwords differ from the text. On O1 verso, page 100, the catchword is 'An'', the text on page 101 has the incorrect 'And''. On O3 recto, page 103, the catchword is 'Act.', but two lines of the unfinished scene begin the next page before 'Act. I Scene. V.' is reached.

pg 112The chief errors of the Harper reprint of 1641 have been tabulated by Mr. H. L. Ford in his Collation of the Ben Jonson Folios, pages 26–8; a rather fuller list of the variants from the 1631 text has been included in our critical apparatus. They are not worth repeating here, but we may note that there is a misprint in the Latin motto on the title-page—Ficta voluptatis causa—where 'Ficta' becomes 'Fucta', which the printer of the 1669 title-page corrected, as he hoped, to 'Facta'. But Harper's text was corrected while it was passing through the press, and we record such variants as we have found in a copy of Mr. Ford's and a copy of our own: they occur chiefly in quire G.

Uncorrected copy

Ordinary copy

A2v, [p. ii.]

Prologue, 2

Play

Play,

21

fac

face

G1r, p. 41.

iii. vi. 27

her

her,

49

treachery.

treachery!

iv. i. scene heading

Act. IV

Act. VI.

G1v, p. 42.

iv. i. 8

madame

Madame

16

to day

to day,

20

Unquited

Vnquieted

30

do wonder

doe wonder

35

you Ladiship

your Ladiship

38

soulder'd

solder'd

42

Cosins

Cousins

44

Unto

Vnto

G4r, p. 47.

iv. iv. 59

But yet

But, yet,

63

you Sir

you, Sir

84

onl' allow'd

onel' allow'd

90

That's

This's

96

honest Tayl-bush

honest, Tayle-bush

G4v, p. 48.

iv. iv. 108 marg.

satisfied

satisfied,

110

into the schoole

in the schoole

120

eies

eyes

121

she' hath

sha' hath1

122

helpe

helpes

127

will; be great

will; be great2

129

Madame. Tay.

Madam. Tai.3

132

Usher

Vsher

135

Ground

ground

137

presupose

presuppose

140

Ladyship

Ladiship

142

Postillos

Pastillos

150

privety

pivety

151

sweten

sweeten

H3v, p. 54.

iv. vii. 81

pray you

pray you,

I3r, p. 61.

v. vi. 47

endangerdd'st

endangered'st

pg 113 The Staple of News

In copies of the 1640 Folio this play is usually printed after Bartholomew Fair and before The Devil is an Ass, which was both acted and printed earlier. No satisfactory reason can be given for this anomalous arrangement. Richard Meighen's general title-page put the plays in this order—The Devil is an Ass last of the three. The binder may have followed this arrangement.

The variants in this play are fewer than in the two preceding. Jonson's corrections in The Devil is an Ass may have made Beale chary of sending him proofs; even when the play was printed off Jonson found it difficult to extract a copy from him to send to the Earl of Newcastle.

This play has many examples of careless printing, such as deranged type, dropped letters, and lost stops. For example, the last word on Cc1 recto (i. vi. 17) 'wardship' appears as 'ward ship', 'wardsh ip', 'ward sh ip', and 'ward shi p'; 'miracles' in the first line of F1 verso (iii. ii. 153) appears as 'mirac l'. The apostrophe disappears in some copies in 'pickl d' (D2 recto, ii. iv. 11) 'sow d' (I2 recto, v. ii. 22), and 'gi' (I5 recto, v. v. 24). But the worst blunder is in the change of signatures: after Cc2 there is a reversion to single letters, D to I. F2 is misprinted F3 in most copies.

The variants in the text follow.

Bb2v, p. 12.

i. iii. 52 st. dir.

tr B2

to the rest

F1r, p. 41.

iii. ii. 124

1. Cust.|

A she | baptist M1, 2, 3, B1, O, A2, S1, 3, 41

1. Cust. | A she An-| baptist S2

1. Cust. | A she Ana-| baptist B2, W. W. Greg's copy

F2r, p. 43, signature.

F3 in all copies examined

F2 W. W. Greg's copy

F4r, p. 47.

iii. iv. 27

moyetie S1

moyety the rest

32

paths S1

paths, the rest

F4v, p. 48.

iii. iv. 49

tyssues S2, 3

tissues the rest

I4r, p. 71.

v. iv. 25

sixtee M2

sixteen the rest

I4v, p. 72.

v. iv. 68

Aaginst S3

Against the rest

v. 5

baile, or mainprise S3

baile, or mainprise the rest

(ii) The Masques, The Underwood, the later Entertainments, and Mortimer

The Masques

B2r, p. 3.

Christmas, 66

Babie-Cocke M1, 2, 3 5, B1, A1, S1, 3, 4

Babie-Cake B2, O, A2, S2

pg 114

C3r, p. 13.

Lovers Made Men, 163

glory in M1

glory in! the rest

D4v, p. 24.

Pleasure Reconciled, 80

    V THE FOLIO OF 1640f press-copy

if the rest

E1r, p. 25.

131

their, feet press-copy

their feet the rest

133

Pigmees press-copy

Pigmies the rest

139

three, … foure, … ten, press-copy

three? … foure? …. ten? the rest

E2r, p. 27.

254

enterweave M5, B1, S4

interweave the rest

E3v, p. 30 heading,

For the Honour of Wales before M5, B1, S4

before, B2, O, S, 2, 3, M1, 2, 3

F1r, p. 33.

155

cannow M1, 2, O, A1

can now the rest

F2v, p. 36.

305 st. dir.

ot press-copy

of the rest

F4r, p. 39.

News from the New World, 3 S1, 2

Newes

Newe the rest

G1v, p. 42.

161

flow S3

flow, the rest

195

catchword not in M1, 2, 3, 5, B1, O, A1, 2, S1, 2, 4

ces B2, S3

H2v, p. 52.

Gypsies Metamorphosed, 143

heare M3, 5, B1, A1, 2, S1, 4

here M1, 2, B2, O, S2, 3

I4r, p. 63.

620

owne, M1, 3, 5, B1, 2, O,A1, S1, 3, 4

ow M2, A2, S2,1

642

adoe, MI, 3, 5, B1, O, A1, S3, 4

ado M2, B2, A2, S1, 2,2

I4v, p. 64.

735

Olive-colour'd M2, A2, S2, 4

Olive-colou r'd M1, 3, 5, B1, 2, O, A1, S32

K1v. p. 66.

854

honayles M3, 5, B1, 2, O. S4

hobnayles M1, 2, A1, 2, S1, 2, 3

K3v, p. 70,

1079

Tyrcwomen M1, 2, 3, 5, O, A1, S1, 2

Tyrewomen B1, 2, A2, S3, 4

1080

perfumes M1, 2, 3, O, A1, S1, 2

perfumers B1, 2, A2, S3, 4

L1v, p. 74.

1244

defedendo M3, A1, S1, 2

defendendo M1, 2, 5, B1, 2, O, A2, S3, 4

M1v, p. 82.

The Masque of Augurs, 67

chimney? M3, 5, B1, 2, S4

chimney! M1, 2, O, A1, 2, S1, 2, 3

M4r, p. 87.

286, note 'h'

Janees M3, 5, B1, 2, S4

Jances M1, 2, O, A1, 2, S1, 2, 3

286, note 'i'

valer. M3, 5, B1, 2, S4

Valer. M1, 2, O, A1, 2, S1, 2, 3

cemarum M3, 5, B1, 2, S4

comarum M1, 2, O, A1, 2, S1, 2, 3

V3r, p. 145.

Love's Triumph, 58 margin.

No note in M3, B2, O, S3, 4

Porus, and Penia M1, 2, 5, B1, A1, 2, S1, 2

The Underwood

In addition to the thirteen copies here collated some special readings are quoted from the copy in the Columbia University Library recorded by Hoyt H. Hudson in the facsimile edition of pg 115Epigram, The Forest, Underwoods published for the Facsimile Text Society, 1936 (= Col.).

Aa2r, p. 171.

ii. 9. 6

Gop M1, S1

God the rest

Aa3v, p. 174.

iv. 9

Tares M1, S1

Teares the rest

Cc4r, p. 191.

xxii. 21

An … them, M2, 3, 5, O, A1, 2, S3

And … them M1, B1, 2, S1, 2, 4

Dd1r, p. 193.

xxv. 16

fight M1, 5, A2, S1, 3

sight M2, 3, B1, 2, O, A1, S2, 4

Ee1r, p. 201.

Headline before xxxvi. 5

Vnderwoods. A1, S2, Col.

The Vnder-wood the rest

xxxvi. 13

still'd A1, S2, Col.

stil'd the rest

Ee2r, p. 203.

xxxviii. 75

weather S2, Col.

weather, the rest

Ee2v, p. 204.

xxxviii. 88

Steight Col.

Streight the rest

94

apply Col.

apply; the rest

111

Fivers … doth S2, Col.

Fibres … doe the rest

115

away Col.

away; the rest

Ee3r, p. 205.

xxxix. 15

othes Col.

oathes the rest

29

back Col.

back, the rest

30

streames Col.

streames: the rest

44

infamie Col.

infamie; the rest

Ee3v, p. 206.

xl. 14

made, S2, Col.

made; the rest

Ee4v, p. 208.

Headline before xlii. 5

Vnder-woods. A1, S2, Col.

The Vnder-wood. the rest

xlii. 53

And Officer A1, S2, Col.

An O fficer the rest

Ff1r, p. 209.

xlii. 80

roiots M3, S2

riots the rest

xliii. 1

this M3, S2

this, the rest

Ff4v, p. 216.

xlv. 7

friendship, M3, S2

friendship the rest

11

ends M3, S2

ends, the rest

xlvi. 1

Hhe M3, S2

He the rest

Gg1r, p. 217.

xlvi. 7

man M1, 2, 3, B1, A1, S2, 4

mans M5, B2, O, A2, S1, 3

xlvii. 4

them, not M1, 2, 3, B1, A1, S2, 4

them not, M5, B2, O, A2, S1, 3

Gg2r, p. 219.

xlviii. 16

beginst B1, S4

begin'st the rest

Hh1r, p. 225.

lvi. 21

stoole M3, 5, O, A1, S2, 4

stoole, M1, 2, A2, S1, 3

22

afternoones M3, 5, B1, 2, O, A1, S2, 4

afternoones, M1, 2. A2, S1, 3

Hh2r, p. 227.

lxi. 5

heare M2, 3, B1, A1, S3

heare, M1, B2, O, A2, S1, 2, 4

Hh2v, p. 228.

lxii, heading

No date in M1, 3, S1, 2

1629. the rest

lxii. 13

wish, M1, 3, S1, 2

wish the rest

lxiii, heading

No date in M1, 3, S1, 2

1629. the rest

Hh3r, p. 229.

lxiv, heading

No date in M1, 3, S1, 2

1629. the rest

lxiv. 6

majestie M1, 3, S1, 2

Majestie the rest

17

ease M1. 3. S1. 2

ease, the rest

lxv, heading

birth M1, 3, S1, 2

birth, the rest

No date in M1, 3, S1, 2

1630. the rest

Hh4v, p. 232.

lxvi. 14

Teirce M3, 5, B1, 2, O, A1, S2, 4

teirce M1, 2, A2, S1, 3

pg 116

Hh4v, p. 232.

lxix. 14

flatt'rer M3, 5, B1, 2. O, A1, S2, 4

flattrer, M1, 2, A2, S1, 3

Iiv, p. 234.

Ixx. 85

Johnson: B1, S4

Johnson, the rest

Ii4r, p. 239.

lxxv. 9

day! B1, S4

day the rest

Ii4v, p. 240.

lxxv. 64

stay S4

stay! the rest

Mm1v, p. 258.

lxxxiv. 8. 2

illustirous M2, S1

illustrious the rest

Mm2r, p. 259.

lxxxiv. 9. 1

ty'd M1, O, S3

dy'd the rest

2

dy'd M1, O, S3

sey'd the rest

11

faite M1, O, S3

faire the rest

27

one, M1, O, S3

one: the rest

46

sheepe M1, O, S3

Sheepe the rest

Mm3r, p. 261.

102

heaven Empyre, and M1, O, S3

heav'n Empire, and the rest1

Mm3v, p. 262.

lxxxiv. 9. 159

nobilitie M1, O, S3

Nobilitie the rest

195

Infirmer M1, O, S3

Infirmery the rest

Nn2r, p. 267.

lxxxvi. 10

Swans M1, 2, 3, B2, O, A2, S1, 2, 3

Swans, B1, A1, S4

Mortimer his Fall

Qq3v, p. 292.

After 69

Left unfinished. A2, S1, 3

Hee dy'd, and left it unfinished, the rest

(iii) Horace his Art of Poetry, The English Grammar, The Discoveries

Art of Poetry

B1r, p. 9.

174

so 'above M3, B2

so 'bove the rest

B3v, p. 14.

233

Ne; M2, 5, B1, S2

Ne, the rest

B4v, p. 16.

243

Davus ne M3, B2

Davusne the rest

264

similis: sibi M3

similis sibi: the rest

C1r, p. 17.

355

beware. M2, 3, B1, S1, 2

beware, M1, 5, B2, O, A1, 2, S3, 42

C3r, p. 21.

471

ownce M2, 3, B1, A1, 2, O, S2, 3, 4

ounce M1, 5, B2, S1

479

and priest, a speaker M2, 3, B1, O, A1, 2, S2, 3, 4

a priest, and speaker M1, B2, S1

C4r, p. 23.

487

profaane to seperate B1, S2

profane to separate the rest

490

crave B1, S2

carve the rest

The English Grammar

E2v, p. 36.

i. iii. 17

in: M2, B1, 2

in the rest

I9

Syllabes M2, B1, 2

Syllables the rest3

27

shé, | in all … Article thè two lines in M2, B1, 2

One line in the rest

41

Syllabe M2, B1, 2

Syllable, the rest3

pg 117

E2v, p. 36.

i. iii. 55

her, hir M2, B1, 2

her, for hir M1, 3, O, A1, 2, Si, 2, 3, 4

E3r, p. 37.

note (r), line 8

dro M2, B1, 2

pro the rest

F1v, p. 42.

note (g), line 1

Latines B1, S2

Latinis the rest

note (h), line 9

quam B1, S2

quám the rest

line 11

vi. B1, S2

vi: the rest

F2r, p. 43.

22

force Chi. or the | S1, M1

force of Chi. or | the the rest

F3r, p. 45.

G note (p), line 7

Qoudq    V THE FOLIO OF 1640 M1, S1, B2, A2

Quodq    V THE FOLIO OF 1640 M2, 3, B1, O, A1, S2, 3, 4

F4r, p. 47.

108

these B1, S2

these, the rest

124

O B1, S2

P the rest

130

reputation, B1, S2

reputation the rest

G3v, p. 54.

vii. 16

Adjectivè S2

Adjective the rest

G4r, p. 55.

viii. 3, 9

No side notes in M2, 3, 5, O, A1, 2, S3, 4

Genus. Figura. the rest

Discoveries

M1v, p. 86.

2

va-rietate M2

varietate the rest

6

Antiqui. M2

Antiqui: the rest

c.w.

THE M2

EX- the rest1

M4r, p. 91.

233

litterature M2

literature the rest

240 (margin)

Icuncolor | motio M2

Icuncula-|rum motio the rest

289–90

misinterpreted M2

mis-interpreted the rest

N1r, p. 93.

354

judgement, M1, S1

judgement, or measure. the rest

357

ἀνθρώποιονM1, S1

ἀνθρώποισινthe rest

358

πγείστηἰ οὔοηςM1, S1

π    V THE FOLIO OF 1640είστηἰούοηςthe rest

362 (margin)

Pindar: M1, S1

Pindari the rest

370

Zeno, M1, S1

Zeno the rest

381

one, M1, S1

one the rest

384

Ward- M1, S1

Ward the rest

Εʹχεμυθία, … γλωσσῆ̑ςM1, S1

Εʹχεμυθία. … γλωσσῆ̑ςthe rest

387

com | pesce M1, S1

com-|pesce the rest

391

to, M1, S1

to the rest

400

blasted, M1, S1

blasted; the rest

402

stood M1, S1

stood, the rest

bald, M1, S1

bald the rest

405 (margin)

Vulgi expectatio. at line 404 M1, S1

At line 406 in the rest

408

now M1, S1

new the rest

N1v, p. 94.

445

seeke … good, … Mischefe M1, S1

seek … good … Mischiefe the rest

N2v, p. 96.

545

it. As A2, S4

it: as the rest

pg 118

N2v, p. 96

570 (margin)

vere S4, A2

verè the rest

585

in, S4, A2

in; M1, 2, 3, 5, B1, 2, O, S1, 2, 3

N4v, p. 100.

777

Tamer-Chams, M1, S1

Tamer-Chams the rest

779

them | them M1, S1

them the rest

789

Readers: … sweetnesse, M1, S1

Readers; … sweetnesse the rest

790

inveighing: M1, S1

inveighing, the rest

797

avoyded, M1, S1

avoyded the rest

808

things, M1, S1

things the rest

809

is: M1, S1

is; the rest

813

selfe: M1, S1

selfe; the rest

834 (margin)

No side note in M1, S1

Studiorum the rest

O4r, p. 107.

1250 (margin)

Character. M5, O, S3, 4

Character. Principis. the rest

Q1v, p. 118.

1881

benefit, M1, S1

benefit the rest

1881 (margin)

De oratio-|nis. | dignitate. M1, S1

De oratio-|nis dignita|te. the rest

1886

sense is, M1, S1

sense is the rest

Q3r. p. 121.

2063

short, M2

short the rest

2102

truth, M2

truth the rest

Q4r, p. 123.

2226

timts M1, S1

times the rest

2232

is, but M1, S1

is but, the rest

c.w.

time M1, S1

times the rest

R1v, p. 126.

2397

Poesie O, S3

Poesie: the rest

2407 (margin)

Ethicr O, S3

Ethica the rest

2409–10

Titleour O, S3

Title our the rest

R2v, p. 128.

2500

Stobus S3

Stobæus the rest

2502

κεκτημένη‎. S3

κεκτημένη·the rest

(iv) The Magnetic Lady, A Tale of a Tub, The Sad Shepherd

The Magnetic Lady

A2r, p. 3.

Persons, 15

Bias A1

Bias, the rest

A3v, p. 6.

Induction, 67

securities, A1

securities: the rest

78

Magnum! A1

Magnum. the rest

B1v, p. 10.

i. i. 66

terme S4

termes the rest

75

ym S4

my the rest

B2r, p. 11.

i. ii. 10

health, M1, 5, B1, O, S1, 4

health M2, 3, B2, A1, 2, S2, 3

13

What? M1, 5, B1, O, S1, 4

What M2, 3, B2, A1, 2, S2, 3

B3v, p. 14.

i. v. 12

Rut. The Armenians M1, 5, B1, O, S1, 4

Rut. The Arminians M2, 3, 4, B2, A1, 2, S2, 3

C2r, p. 19.

1 Chorus, 6

no Act B2, A2

noAct the rest1

9

Comedy, had reserv'd, B2, A2

Comedy had reserv'd the rest

20

land, … Pannims, B2, A2

land … Paynims the rest

21

Monsters: B2, A2

Monsters; the rest

pg 119

C2r, p. 19.

1 Chorus, 22

Daughter: M1, B2, O, A2, S1

Daughter M2, 3, 5, B1, A1, S2, 3, 4

24

lame, … miracles: M5, B2, A2

lame … miracles. the rest

27

ʇhen M1, B2, O, A2, S1

then M2, 3, 5, B1, A1, S2, 3, 4

29

then, your People; B2, A2

then; your People, the rest1

30

Tudeske B2, A2

Tudesko the rest

38

well. B2, A2

well: the rest

44

degrees! B2, A2

degrees: the rest

C3v, p. 22.

ii. iii. 7

Especially 'in B2, A2

Especially in the rest2

10

darker: what B2, A2

darker? What the rest

11

English— M1, B2, O, A2, S1

English—. the rest

12

it. B2, A2 it.— M1, O, S1

it—. M2, 3, B1, A1, S2, 3, 4

Give heaven B2, A2

Give her vent the rest

14

with B2, A2

with; the rest

16

hers, B2, A2

hers the rest

30

weekes! B2, A2

weekes: the rest

42

(To B2, A2

To the rest

44

too B2, A2

to the rest

45

Practise! … man? B2, A2

Practise: … man, the rest

C4r, p. 23.

ii. iii. 73

large M2

large! the rest

C4v, p. 24.

ii. iv. 33

family? M3, S3, 4

family! the rest

ii. v. 16

veines M3, S3, 4

veines, the rest

D1v, p. 26.

ii. vi, scene heading

Rnt. M5, B2, S3

Rut. the rest

21

more, M5, B2, S3

more the rest

23

in open sale M5, B2, S3

sale in open the rest

D2v, p. 28.

ii. vi. 100

Legacie? M1, 5, O, S1

Legacie, the rest

D3v, p. 30.

2 Chorus 64

ten, M1, 5

ten the rest

D4r, p. 31.

2 Chorus 77

Dam. By whom, Boy? added to the preceding speech in B2, S3

Printed as a separate speech in the rest

iii. i. 1

Iem. B2, S3

Item. the rest

17

name: B2, S3

name:) the rest

E4v, p. 40.

iii. vi. 123

other sword free M2, B2, O, A2, S1

other, sword free. M1, 3, B1, A1, S2, 3, 4

F1v, p. 42.

iii. vii. 23

Captaine! M1

Captaine: the rest

25

hence,! M1

hence; the rest

F4r, p. 47.

iv. v. 14

travell? M1

travell the rest

15

sake. M1

sake? the rest

24

you, Mr. Practise. M1

you. Mr. Practise, the rest

vi. 8

trke M1

take the rest

G1r, p. 49.

iv. vii. 10

another. M3, O, A2, S1, 2, 4

another? M1, 2, 5, B1, 2, A1, S3

G2r, p. 51.

iv. viii. 64

Daugh M1, O, S1, 43

Daughter; M2, 3, 5, B1, 2, A1, 2, S2, 3

pg 120

G4v, p. 56.

v. vi. 2

Counsels. M3, B1, O, A2, S1, 2, 4

Counsels? M1, 2, 5, B2, A1, S3

H1r, p. 57.

v. vii. 21 st. dir.

Not in M3, 5, A1, S3

Inserted in M1, 2, B1, 2, O, A2, S1, 2, 4

32

is, M3, 5, A1, S3

is M1, 2, B1, 2, O, A2, S1, 2, 4

H2r, p. 59.

v. viii. 37

Boulting-tub. M2, B2, A2

Boulting-tub, M1, 3, 5, B1, O, A1, S1, 2, 3, 4

H3v, p. 62.

v. x. 61

charity M2, B2, A2

charity— M1, 3, 5, B1, O, A1, S1, 2, 3, 4

98

unnarurall M2, B2, A2

unnaturall M1, 3, 5, B1, O, A1, S1, 2, 3, 4

100

havə M2, B2, A2

have M1, 3, 5, B1, O, A1, S1, 2, 3, 4

A Tale of a Tub

I2r, p. 67.

The Persons 19, 20, 21

IONE … MADGE … KATE, S2

IONE, … MADGE, … KATE. the rest

I3r, p. 69.

i. i. 6

keepe, S2

keepe the rest

11

errand, S2

errand the rest

12

What! Squire, S2

What, Squire! the rest

17

danger S2

dagger the rest

20

spirit her sonne S2

spirither, sonne1 the rest

28

would S2

would, the rest

29

Tripoly. S2

Tripoly; the rest

31

morning; S2

morning, the rest

33

y-styl'd S2

y-styl'd, the rest

I4v, p. 72.

i. ii. 32

zay, … Turfe; M2

zay. Turfe, the rest

iii. 20

uppi-nions M2

uppinions the rest

29

married: M2

married? the rest

K3v, p. 78.

i. vii. 27

Poets; S3

Poets, the rest*

29

me! M2, 3, 5, B1, A2, S2, 3*

me: M1, B2, O, A1, S1, 4

31

Conntre-Madam's S3

Countri-Madams the rest*

33

sake, M2, 3, B1, S3. Stop lost in A2, S2

sake: M1, 3, 5, B2, O, A1, S1, 4

dispose S3

dispense the rest

L1r, p. 81 (71).

ii. ii. 75

Hine! … you. S4

Hine. … you? the rest

97

valew S4

value the rest*

100

death, … Tiburne; S4

dead; … Tiburne, the rest*

L4v, p. 88 (78).

ii. v. 38

was.—. Well M1, 2, 3, 5, B1, 2, O, A1, 2, S1, 2, 3

was. Well B1, S4

41

me? M1, 2, 3, 5, B2, O, A1, 2, S1, 2, 3

me. B1, S4

vi. 6

Sir? speake? M1, 2, 3, 5, B2, O, A1, 2, S1, 2, 3

Sir, speake. B1, S42

14

obey. M1, 2, 3, 5, B2, O, A1, 2, S1, 2, 3

obey! B1, S4

M3r, p. 93 (83).

iii. iv. 15

see, M3, S3

see the rest*

16

pa rdee: M3, S3

pardee! the rest*

17

zaith, M3, S3

zaith the rest*

pg 121

M3v, p. 94 (84).

iii. iv. 29

me; S3

me, the rest*

v. 21

Wispe! S3

Wispe. the rest*

M4r, p. 95 (85).

iii. v. 58

sonne! M5, B1, O, S1, 4

sonne. M1, 2, 3, B2, A1, 2, S2, 3

62

soune M5, B1, O, S1, 4

sonne M1, 2, 3, B2, A1, 2, S2, 3

O1v, p. 106 (96).

iv. ii. 49

weekes, B2, A2

weekes the rest

51

this … blade, B2, A2

this, … blade? the rest

52

thee, B2, A2

thee the rest

59

heare, B2, A2

heare; the rest

65

not I, B2, A2

not I; the rest

O4r, p. 111 (101).

iv. vi. 16

yet, B2, A2

yet the rest

P1v, p. 114 (104).

v. ii. 26

I man B1, A1, S2

my man the rest

52

Ladies B1, A1, S2

Ladie the rest

P3r, p. 117 (107).

v. iv. 16

it. A1

it! the rest*

P4r, p. 119 (109).

v. vii. 31

old B1, A1, S2

oild the rest

Q2r, p. 123 (113).

v. x. 81

enter! M1, 3, 5, B1, 2, O, A1, 2, S1, 2, 3, 4

enter. Yale copy, M21

Epilogue,

after l. 16

FINIS. not in M1, 3, 5, B1, O, A1, S1, 2, 3, 4

Added in B2, A2, M2

The Sad Shepherd

R4r, p. 131 (121).

i. ii. 2

Robin-hood? O, S1

Robin-hood the rest

3

Wood. O, S1

Wood? the rest

S3v, p. 148 (138).

i. vi. 24

suɹe M1, 2, 5, A1, 2

sure the rest

Peculiarities of printing in this play are ''em' for 'them' in ii. i. 1, vii. 16; elsewhere it is Jonson's usual ''hem'. 'O' stands for 'oh' in ii. v. 1, 23, 41, vi. 75, 76, iii. ii. 33, iii. 1; ô is used for 'o'' in i. vi. 51, 57, and also for 'oh' in ii. vi. 75. In ii. ii. 7 'na'se' is found for 'nase'.

One fact is clear from the texts themselves, and proved by the miscorrections, that the printers modified and conventionalized Jonson's elaborate punctuation. In such passages as the following the comma, at first printed in the text, was removed: 'i' the holy land, or else where' (Magnetic Lady, 1 chorus, 20); 'lame, and all to be laden with miracles' (ibid. 24); 'short, and succinct Periods' (Discoveries, 2063); 'Discoveries of truth, and fitnesse' (ibid. 2102). The comma taken out in the following clauses was in Jonson's manuscript:

  • He expects no more, then that summe to be tendred. (M.L. ii. vi. 21)
  • On such an errand, as a Mistris is (T. of T. i. i. 11).

Jonson's habit of enclosing adverbs like 'still' and 'yet', and adverbial clauses, led to miscorrections. Such lines as

  • And Na-ture ioyes still, in equality (D. is A. i. vi. 126)
  • He is groune too much, the story of mens mouthes (ibid. 160)

pg 122have kept the second comma only. These, on the other hand, have kept only the first, which was removed in the proof:

  • So doth the flatt'rer, with faire cunning strike (Und. lxix. 14)
  • Nor is that worthy speech of Zeno, the philosopher to be past over
  • (Discov. 370).

In the Art of Poetry, 174, the text had originally 'so 'above'; this was miscorrected to 'so 'bove'. Jonson's spelling also suffered. His attempt to copy classical spellings such as 'æquall', 'œconomy' received a short shrift: the English Grammar gives a good illustration, in which 'Præposition' is found once only, though Jonson must have used it throughout. In the Grammar, too, 'syllabe', which reproduces συλλαβή‎, is 'corrected' to 'syllable' (i. iii. 19).

Notes

1 In the second volume the part printed by Beale had forty-seven lines; afterwards the number is inconsistent, but the printer aimed at a page of fifty lines.

1 See vol. iii, pp. 294–6, 417–18, for Every Man in and Every Man out of his Humour; vol. iv, pp. 23, 195–6, 343–4, for Cynthia's Revels, Poetaster, and Sejanus; vol. v, pp. 9, 10, 150–1, 416–17, for Volpone, Epicoene, and Catiline.

1 The type disturbed, and the note of exclamation has moved up a line.

2 The 'I' is faintly printed.

3 The final 'E' is broken.

4 In ll. 68–70 the initial letter dropped a line.

1 In Q and F1 Dol's speech was printed in small roman parallel with the agitated comments of Face and Mammon: the size of the type compelled this. F2 printed the speech and the comments separately in large type, with Dol's speech first. Originally F2 set this last in roman; the large-paper copy corrected it to italic so as to be uniform with her other quotations.

2 The comma faint.

3 See vol. i, p. 211.

1 See vol. vi, p. 146.

2 Arber, Transcript, iv. 387.

3 Published by Professor S. G. Dunn in The Times Literary Supplement, 28 July 1921.

4 He had published in 1631 the masque of Chloridia, the last work issued in Jonson's lifetime.

1 Printed by Frank Marcham in an article in The Library, 4th Series, 1930–1, vol. xi, pp. 225–9, 'Thomas Walkley and the Ben Jonson "Workes" of 1640'.

2 Matthew Pindar, one of the six clerks from 21 Mar. 1640 till 26 Oct. 1683.

1 Walkley's counsel.

1 Transcript, vol. ii., p. 206.

1 The Underwood, lxxviii, 19–32.

2 Autograph letter in B.M. Harley MS. 4153, ff. 19v, 20r.

1 Early English Printed Books in the University Library, Cambridge, vol. ii, p. 905.

2 See the facsimile in vol. vii, p. 435.

1 See his article on 'The Printing of Jasper Mayne's Plays' in the Proceedings of the Oxford Bibliographical Society, vol. i, p. 259.

1 See vol. i, p. 215: facsimiled in Greg's English Literary Autographs, part i, no. xxiii (c)

1 Review of English Studies, xviii (1942), pp. 464–5.

1 'norhing' should be 'nothing'.

1 The correction is made by erasure: it is found also in the Christ Church, Jesus College, Oxford, and Manchester College copies. In M1 the first e of 'steeme' is half taken out. In all copies the letters of 'steeme' are brought together; there is a bad blur for the a. The p of 'piece' in line 1 is nearly obliterated, the b of 'but' in line 3 is disturbed. See vol. vi, p. 153.

1 Probably a misprint for 'sh' hath', the printer meaning to treat the metrical apostrophe as a mark of elision: see p. 50.

2 The spacing between the words is adjusted.

3 The spelling is altered to adjust an overlong line.

1 We conjecture that this was the first state because of the derangement of the type in 'Cust'. Deranged in M1, not in 2, 3.

1 The final letters, coming at the end of a line, have failed to print.

2 The type begins to shift in S1.

1 A miscorrection: read 'Heav'n Empyrean'.

2 The comma has failed to print clearly in most copies.

3 A miscorrection: the printer did not know that Jonson spelt 'syllabe' to correspond with συλλαβή‎.

1 In the press-copy, M5, O, A1, S2 and 4, there are clear signs of the 'EX-' having been stamped in over an erasure; the letters were stamped in separately as they are not quite in line, but in A2, S1, and S3 they appear to be normally printed.

1 The type has been deranged.

1 A miscorrection.

2 Read 'Especially, in' …

3 A long line; the end letters have failed to print.

1 A miscorrection for 'spirit, her sonne'.

2 A miscorrection for 'Sir? speake'.

1 A miscorrection; there should be no stop.

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